View allAll Photos Tagged applied
At the Christopher Street Day in Frankfurt last july.
Oh, I remember now, this picture was taken with my Pentax MX and SMC pentax 50mm f/2, Fomapan 400 in Rodinal 1+50 for ~12min @ 20°C and digitalized using kit zoom and extension tubes.
Thank you everyone for your visits, faves and comments, they are always appreciated :)
________________________________________________
I make myself a rule of publishing only pictures I honestly think their subjects would like. However, if you'd rather not see yourself here, let me know and I'll remove the image from my stream.
S. Turribi
Graphite on paper
CORSO DI DISEGNO E PITTURA
miminadecorazioni.blogspot.com/
Concepts applied:
Acceleration, Distance, Energy, Force, Kinetic Energy, Mass, Position, Speed, Time, and Velocity Vector
Oh, Gravity was a key factor… Basically, I turned my camera into a projectile and then caught it (a.k.a. camera tossing).
HILL COUNTRY
"Hill Country" is a vernacular term applied to a region including all or part of twenty-five counties near the geographical center of Texas. In the geomorphological sense, the Hill Country represents in large part a dissected plateau surface. It is bordered on the east and south by the Balcones Escarpment, on the west by the relatively undissected Edwards Plateau, and on the north by rolling plains and prairies. The elevations range from less than 1000 feet in the south and eastern areas of the Hill Country and generally rise toward the north and west to reach more than 2500 feet in Schleicher and Kerr counties, with most areas ranging between 1400 and 2200 feet. Lying in the transition zone between humid and semiarid climates, the Hill Country experiences both wet and dry years; at Fredericksburg eleven inches of precipitation was recorded in 1956 and forty-one inches the next year. The vegetation originally consisted of a parklike, open forest dominated by several types of oak, giving way in places to expanses of shinnery, to prairie, or to dense juniper (colloquially called cedar) brakes. Both mesquites and junipers have expanded as the environment has been disturbed. In the cultural sense the Hill Country has been a meeting ground of Indian, Spaniard, Mexican, hill southern Anglo, and northern European. The Apaches and their successors, the Comanches, left little imprint but did retard Spanish colonial activities in the region. As early as 1860 the partition of the Hill Country between the two groups that were to dominate it—hill southern Anglos and Germans—had been accomplished.
Between 1840 and 1850 significant numbers of settlers, mostly southern mountaineers, had been attracted to the Hill Country, particularly to Williamson, Hays, Comal, and Gillespie counties. Settlers from the mountain states of Tennessee, Arkansas, and Missouri composed the largest nativity groups within the rural, immigrant, Anglo-American population of these counties. The initial settlement of the remaining Hill Country counties occurred in the decade before the outbreak of the Civil War, as migration into the hills continued on a larger scale. According to a count of the 1860 manuscript census the leading states of origin for the Anglo-American population were still Arkansas and Tennessee. In the 1880 census the trend remained the same, supporting the claim that migration from the Ozark, Ouachita, and Appalachian states was largely responsible for the settlement of the Hill Country.
But the southern mountaineers were not solely responsible for the peopling of the Hill Country. Germans, mainly hill Hessians and Lower Saxons, introduced in the middle 1840s by the Society of Nobles (see ADELSVEREIN), occupied a corridor stretching 100 miles northwestward from New Braunfels and San Antonio through Fredericksburg as far as Mason, along the axis of an old Indian route known as the Pinta Trail, later called the Upper Emigrant Road. The towns of Fredericksburg, Comfort, Boerne, and Mason all bear a strong German cultural imprint, as do numerous neighboring hamlets and farms. By 1870 the population of Gillespie County was 86 percent German, Comal 79 percent, Kendall 62 percent, and Mason 56 percent. Each river valley in the German-settled portion of the Hill Country developed its own distinctive subculture, particularly in the religious sense. The Pedernales valley in Gillespie County is a Lutheran-Catholic enclave abounding in dance halls and ethnic clubs; the Llano valley in Mason and western Llano counties is dominated by German Methodists, who avoid dancing, drinking, and card playing; and the Guadalupe valley of Kendall County is the domain of freethinkers who maintain the only rural stronghold of agnosticism in Texas. Other European groups in the Hill Country include Silesian Poles, who settled at Bandera in the 1850s; Alsatians, who spread up from the Castroville area, following streams such as Hondo Creek; and Britishers, who came as sheepraisers to Kerr and Kendall counties. Blacks are largely absent in the Hill Country, though a few tiny freedmen colonies, such as Payton Colony in Blanco County, occur. Hispanics form a relatively small minority throughout the Hill Country.
In the late 1970s a study was made to determine the extent and intensity of the Hill Country as a perceptual region. Almost three-quarters of the people in the region so designated identified "Hill Country" as the popular name for the area
Lots of technical issues with this one but I love how the light bounced back from the gold flecks in the sand. The circles aren't visible in the SOOC version.. but when I applied a lens blur, they appeared!
In days gone by this was an everyday scene on the WCML, an Inter City express loco hauled by on of the 25kv electric locos. So common that perhaps no one bothered too much and focused on the diesel scene more where it was possibly a bit more varied and, let's face it, probably not as bland as the AC fleet was probably perceived apart from the first generation one from Class 81 to 85. Now they are all binned as far as Inter City work goes it is time to rue the missed opportunities! Oh well, there was so much to see and not enough time to see it all.
Here I have indulged in a rare opportunity to line side these locos and tearing into Manchester on the up fast the 87 is likely doing 100mph. Between Levenshulme and Heaton Chapel it was about a mile and a half in both directions it was cleared for 100mph and the opportunity to hit that speed was seldom missed. Once clear of Slade Lane Junction on the up power was applied. From Stockport it seemed to be possible to go like hell almost from the station but it was usually after Stockport Viaduct/Heaton Norris Junction.
It is only 6 miles between Manchester Piccadilly and Stockport. The outward journey always seemed quicker between the two stations.
A college project. I designed this poster for a series of typography lectures, fictional unfortunately!
10 Colors can be applied separately to 4 sections of mesh (Skirt + Trim, Top Frills + Trim)
● Maitreya
● Legacy
● Legacy Push-up
● Legacy Perky
● Reborn Juicy
Landmark
maps.secondlife.com/secondlife/Saint%20Denis%203/131/124/884
--------------------------------------------
Social Media Links
Bruno applied to be part of the polar bear impersonator club. They said he just needed to work on his ears.
And yes, he is wearing a collar, it's just hidden behind his developing adult coat.
--------------
Part of my studio 26 DOF set, using shallow aperture to melt the details on the snow behind him.
HILL COUNTRY
"Hill Country" is a vernacular term applied to a region including all or part of twenty-five counties near the geographical center of Texas. In the geomorphological sense, the Hill Country represents in large part a dissected plateau surface. It is bordered on the east and south by the Balcones Escarpment, on the west by the relatively undissected Edwards Plateau, and on the north by rolling plains and prairies. The elevations range from less than 1000 feet in the south and eastern areas of the Hill Country and generally rise toward the north and west to reach more than 2500 feet in Schleicher and Kerr counties, with most areas ranging between 1400 and 2200 feet. Lying in the transition zone between humid and semiarid climates, the Hill Country experiences both wet and dry years; at Fredericksburg eleven inches of precipitation was recorded in 1956 and forty-one inches the next year. The vegetation originally consisted of a parklike, open forest dominated by several types of oak, giving way in places to expanses of shinnery, to prairie, or to dense juniper (colloquially called cedar) brakes. Both mesquites and junipers have expanded as the environment has been disturbed. In the cultural sense the Hill Country has been a meeting ground of Indian, Spaniard, Mexican, hill southern Anglo, and northern European. The Apaches and their successors, the Comanches, left little imprint but did retard Spanish colonial activities in the region. As early as 1860 the partition of the Hill Country between the two groups that were to dominate it—hill southern Anglos and Germans—had been accomplished.
Between 1840 and 1850 significant numbers of settlers, mostly southern mountaineers, had been attracted to the Hill Country, particularly to Williamson, Hays, Comal, and Gillespie counties. Settlers from the mountain states of Tennessee, Arkansas, and Missouri composed the largest nativity groups within the rural, immigrant, Anglo-American population of these counties. The initial settlement of the remaining Hill Country counties occurred in the decade before the outbreak of the Civil War, as migration into the hills continued on a larger scale. According to a count of the 1860 manuscript census the leading states of origin for the Anglo-American population were still Arkansas and Tennessee. In the 1880 census the trend remained the same, supporting the claim that migration from the Ozark, Ouachita, and Appalachian states was largely responsible for the settlement of the Hill Country.
But the southern mountaineers were not solely responsible for the peopling of the Hill Country. Germans, mainly hill Hessians and Lower Saxons, introduced in the middle 1840s by the Society of Nobles (see ADELSVEREIN), occupied a corridor stretching 100 miles northwestward from New Braunfels and San Antonio through Fredericksburg as far as Mason, along the axis of an old Indian route known as the Pinta Trail, later called the Upper Emigrant Road. The towns of Fredericksburg, Comfort, Boerne, and Mason all bear a strong German cultural imprint, as do numerous neighboring hamlets and farms. By 1870 the population of Gillespie County was 86 percent German, Comal 79 percent, Kendall 62 percent, and Mason 56 percent. Each river valley in the German-settled portion of the Hill Country developed its own distinctive subculture, particularly in the religious sense. The Pedernales valley in Gillespie County is a Lutheran-Catholic enclave abounding in dance halls and ethnic clubs; the Llano valley in Mason and western Llano counties is dominated by German Methodists, who avoid dancing, drinking, and card playing; and the Guadalupe valley of Kendall County is the domain of freethinkers who maintain the only rural stronghold of agnosticism in Texas. Other European groups in the Hill Country include Silesian Poles, who settled at Bandera in the 1850s; Alsatians, who spread up from the Castroville area, following streams such as Hondo Creek; and Britishers, who came as sheepraisers to Kerr and Kendall counties. Blacks are largely absent in the Hill Country, though a few tiny freedmen colonies, such as Payton Colony in Blanco County, occur. Hispanics form a relatively small minority throughout the Hill Country.
In the late 1970s a study was made to determine the extent and intensity of the Hill Country as a perceptual region. Almost three-quarters of the people in the region so designated identified "Hill Country" as the popular name for the area
Source: tshaonline.org/handbook/online/articles/ryh02
Bluebonnets
Lupinus texensis
Lupinus texensis Hook.
Texas Bluebonnet, Bluebonnet, Texas Lupine, Buffalo Clover, Wolf Flower
Fabaceae (Pea Family)
USDA Symbol: LUTE
USDA Native Status: L48 (N)
Source: www.wildflower.org/gallery/species.php?id_plant=LUTE
Bluebonnets have been loved since man first trod the vast prairies of Texas. Indians wove fascinating folk tales around them. The early-day Spanish priests gathered the seeds and grew them around their missions. This practice gave rise to the myth that the padres had brought the plant from Spain, but this cannot be true since the two predominant species of bluebonnets are found growing naturally only in Texas and at no other location in the world.
As historian Jack Maguire so aptly wrote, "It's not only the state flower but also a kind of floral trademark almost as well known to outsiders as cowboy boots and the Stetson hat." He goes on to affirm that "The bluebonnet is to Texas what the shamrock is to Ireland, the cherry blossom to Japan, the lily to France, the rose to England and the tulip to Holland."
The ballad of our singing governor, the late W. Lee O'Daniel, goes, "you may be on the plains or the mountains or down where the sea breezes blow, but bluebonnets are one of the prime factors that make the state the most beautiful land that we know.
Source: Aggie Horticulture
Texas lupine has larger, more sharply pointed leaves and more numerous flower heads than similar lupines. Light-green, velvety, palmately compound leaves (usually five leaflets) are born from branching, 6-18 in. stems. These stems are topped by clusters of up to 50 fragrant, blue, pea-like flowers. The tip of the cluster is conspicuously white.
This is the species often planted by highway departments and garden clubs and is one of the six Lupinus species which are the state flower of Texas.
Source: Lady Bird Johnson Wildflower Center
Subject: Green
For some reason when I saw the subject green I thought of limes. So this is a slice of lime, backlit with a flash. Then applied a Droste Effect to provide the twist (or spiral)
{"total_effects_actions":0,"total_draw_time":72550,"layers_used":2,"effects_tried":0,"total_draw_actions":18,"total_editor_actions":{"border":0,"frame":0,"mask":0,"lensflare":0,"clipart":0,"text":0,"square_fit":0,"shape_mask":0,"callout":0},"effects_applied":0,"uid":"75040523-0D96-4974-B9E5-EB36474A8427_1458856834574","width":750,"photos_added":0,"total_effects_time":0,"tools_used":{"tilt_shift":0,"resize":0,"adjust":0,"curves":0,"motion":0,"perspective":0,"clone":0,"crop":0,"enhance":0,"selection":0,"free_crop":0,"flip_rotate":0,"shape_crop":0,"stretch":0},"sources":[],"origin":"gallery","height":1334,"total_editor_time":75882,"brushes_used":0}
{"total_effects_actions":41,"total_draw_time":0,"layers_used":0,"effects_tried":41,"total_draw_actions":0,"total_editor_actions":{"border":0,"frame":0,"mask":0,"lensflare":0,"clipart":0,"square_fit":0,"text":0,"shape_mask":0,"callout":0},"effects_applied":1,"uid":"68547904-43EE-43E2-8614-08F427D2BEC9_1458927130131","width":3342,"photos_added":0,"total_effects_time":130937,"tools_used":{"tilt_shift":0,"resize":0,"adjust":1,"curves":1,"motion":0,"perspective":0,"clone":0,"crop":0,"flip_rotate":0,"selection":0,"enhance":1,"free_crop":0,"shape_crop":0,"stretch":0},"origin":"gallery","height":2509,"total_editor_time":7251,"brushes_used":0}
#203: As of 9/17/19, of my 1900+ pics, this is listed as #203 in most # of faves.
For an interlude, this is a close-up/headshot image based off one of my more popular pics posted here on flickr in the last couple years. This particular image was generated with the help of the FaceApp application, where I started with a close-up of the "2018-04-25 pic-21" pic I've posted here. Then I just applied the FA "spark" filter to help with the graininess of this close-up.
Let me know what you think... :-)
I cannot be certain with the identification of this plant, but the color of the flowers and the form of the leaves is consistent with the popular hybrid Correa "Dusky Bells". The genus Correa has around a dozen species, but there are many subspecies, hybrids and cultivars. Correa plants are one of those unassuming, underrated shrubs: tough and hardy. They work well in public spaces where they receive little or no attention. Yet, they produce these charming flowers.
en.m.wikipedia.org/wiki/Correa_(plant)
www.anbg.gov.au/gnp/interns-2007/correa-dusky-bells.html
[ Location - Barton, Australian Capital Territory, Australia ]
Photography notes ...
The photograph was taken using the following hardware configuration ...
(Year of manufacture indicated in braces where known.)
- Hasselblad 500C/M body (1994).
- Hasselblad CFV-50c Digital Back for Hasselblad V mount camera.
- Hasselblad Focusing Screen for the CFV-50c digital back, with focussing prism and crop markings.
- Hasselblad 45 Degree Viewfinder PME-45 42297 (2001).
- Hasselblad Carl Zeiss lens - Planar T* 80mm f2.8 CFE (2000).
- FotodioX B60 Lens Hood for Select Hasselblad Standard Length CF Lenses.
- Hasselblad Extension Tube 56E (56mm) for 200 and 500 Series - MFR # 30 40656.
I acquired the photograph (8272 x 6200 pixels) with an ISO of 100, exposure time of 1/125 seconds, and aperture of f/8.0
Post-processing ...
Finder - Removed the CF card from the camera digital back and placed it in a Lexar 25-in-1 USB card reader. Then used Finder on my MacBook Air to download the raw image file (3FR extension) from the card.
Lightroom - Imported the 3FR image.
Lightroom - Used the Map module to add the location details to the EXIF header.
Lightroom - Adjusted the white balance slightly.
Lightroom - Applied a square (1:1 aspect ratio) crop.
Lightroom - Applied various basic lighting and color adjustments in the Develop module. Increased the exposure, reduced the Highlights and Whites, added some Clarity, and decreased the Saturation. Also selectively decreased the Green saturation whilst increasing the Yellow, Orange and Red saturation
Lightroom - Saved the basic Develop module settings as preset 20160807-001.
Lightroom - Output the image as a JPEG image using the "Maximum" quality option (6200 x 6200 pixels).
PhotoSync - Copied the JPEG file to my iPad Mini for any final processing, review, enjoyment, and posting to social media.
One of My Favorite HairStyles BIGBLEACHEDBLONDE Of course i Applied Lots of SuperHold Hairspray. The fragrance of the Hairspray was intoxicating mmmm.
Finally caught the blighter! 91111 'For the Fallen' passes south with 1A26 Leeds to Kings Cross. I do think this is the best of all the vinyl schemes applied to the 91s by a long way, not least for the subject.
Hogeschool West-Vlaanderen (Howest University of Applied Sciences), almost always shortened to "Howest", located in the Sint-Gillis Quarter, northern Bruges, Flanders, Belgium.
Howest is an entrepreneurial University of Applied Sciences known for its innovative and interdisciplinary approach to education and research, and its close collaboration with industry, business and the social profit sector. It offers 24 Bachelors, 10 Associate Degrees and many Postgraduate Certificate programmes, all with a strong practical focus, in the areas of Business & Management, Industrial Sciences & Technology, Digital Design, Architecture, Healthcare, Education and Social Sciences.
It is renowned for its Tech-programmes, such as Cybersecurity, Digital Design and Development and Digital Arts and Entertainment. According to The Princeton Review® Howest University of Applied Sciences is one of the top undergraduate schools at which you can study game design. With its Bachelor programme in Digital Arts and Entertainment (DAE), Howest ranked# 21 on the undergraduate programmes list for 2020.
Information Source:
Another fantastic display at the Canadian War Museum in Ottawa. This tank is almost a quantum leap from the Panzer II Ausf C in the previous post. The Panther was developed as a response to the Soviet T-34 tank; 6,000 Panther tanks were built between 1943 and 1945. The tank is coated with 'Zimmerit," a layer of blended chemicals, sawdust, adhesives, applied as a defence against magnetic anti-tank mines. Main armament was a 75mm gun.
The Victoria and Albert Museum (often abbreviated as the V&A) in London is the world's largest museum of applied arts, decorative arts and design, housing a permanent collection of over 2.27 million objects. It was founded in 1852 and named after Queen Victoria and Prince Albert. The V&A is located in the Royal Borough of Kensington and Chelsea, in an area known as "Albertopolis" because of its association with Prince Albert, the Albert Memorial and the major cultural institutions with which he was associated. These include the Natural History Museum, the Science Museum, the Royal Albert Hall and Imperial College London. The museum is a non-departmental public body sponsored by the Department for Digital, Culture, Media and Sport. As with other national British museums, entrance is free. The V&A covers 12.5 acres and 145 galleries. Its collection spans 5,000 years of art, from ancient times to the present day, from the cultures of Europe, North America, Asia and North Africa. However, the art of antiquity in most areas is not collected. The holdings of ceramics, glass, textiles, costumes, silver, ironwork, jewellery, furniture, medieval objects, sculpture, prints and printmaking, drawings and photographs are among the largest and most comprehensive in the world. The museum owns the world's largest collection of post-classical sculpture, with the holdings of Italian Renaissance items being the largest outside Italy. The departments of Asia include art from South Asia, China, Japan, Korea and the Islamic world. The East Asian collections are among the best in Europe, with particular strengths in ceramics and metalwork, while the Islamic collection is amongst the largest in the Western world. Overall, it is one of the largest museums in the world.
O Pantheon, em Roma.
The Pantheon, in Rome.
A text, in english, from Wikipedia, the free encyclopedia:
Pantheon, Rome.
The Pantheon (Latin: Pantheon, from Greek: Πάνθειον, meaning "Temple of all the gods") is a building in Rome which was originally built as a temple to all the gods of Ancient Rome, and rebuilt circa 126 AD during Hadrian's reign. The intended degree of inclusiveness of this dedication is debated. The generic term pantheon is now applied to a monument in which illustrious dead are buried. It is the best preserved of all Roman buildings, and perhaps the best preserved building of its age in the world. It has been in continuous use throughout its history. The design of the extant building is sometimes credited to Trajan's architect Apollodorus of Damascus, but it is equally likely that the building and the design should be credited to Emperor Hadrian's architects, though not to Hadrian himself as many art scholars once thought. Since the 7th century, the Pantheon has been used as a Roman Catholic church. The Pantheon is the oldest standing domed structure in Rome. The height to the oculus and the diameter of the interior circle are the same, 43.3 metres (142 ft).
n the aftermath of the Battle of Actium (31 BC), Agrippa built and dedicated the original Pantheon during his third consulship (27 BC). Agrippa's Pantheon was destroyed along with other buildings in a huge fire in 80 AD. The current building dates from about 126 AD, during the reign of the Emperor Hadrian, as date-stamps on the bricks reveal. It was totally reconstructed with the text of the original inscription ("M·AGRIPPA·L·F·COS·TERTIVM·FECIT", standing for Latin: Marcus Agrippa, Lucii filius, consul tertium fecit translated to "'Marcus Agrippa, son of Lucius, Consul for the third time, built this") which was added to the new facade, a common practice in Hadrian's rebuilding projects all over Rome. Hadrian was a cosmopolitan emperor who travelled widely in the East and was a great admirer of Greek culture. He might have intended the Pantheon, a temple to all the gods, to be a kind of ecumenical or syncretist gesture to the subjects of the Roman Empire who did not worship the old gods of Rome, or who (as was increasingly the case) worshipped them under other names. How the building was actually used is not known.
Cassius Dio, a Graeco-Roman senator, consul and author of a comprehensive History of Rome, writing approximately 75 years after the Pantheon's reconstruction, mistakenly attributed the domed building to Agrippa rather than Hadrian. Dio's book appears to be the only near-contemporary writing on the Pantheon, and it is interesting that even by the year 200 there was uncertainty about the origin of the building and its purpose:
Agrippa finished the construction of the building called the Pantheon. It has this name, perhaps because it received among the images which decorated it the statues of many gods, including Mars and Venus; but my own opinion of the name is that, because of its vaulted roof, it resembles the heavens. (Cassius Dio History of Rome 53.27.2)
The building was repaired by Septimius Severus and Caracalla in 202 AD, for which there is another, smaller inscription. This inscription reads "pantheum vetustate corruptum cum omni cultu restituerunt" ('with every refinement they restored the Pantheon worn by age').
In 609 the Byzantine emperor Phocas gave the building to Pope Boniface IV, who converted it into a Christian church and consecrated it to Santa Maria ad Martyres, now known as Santa Maria dei Martiri.
The building's consecration as a church saved it from the abandonment, destruction, and the worst of the spoliation which befell the majority of ancient Rome's buildings during the early medieval period. Paul the Deacon records the spoliation of the building by the Emperor Constans II, who visited Rome in July 663:
Remaining at Rome twelve days he pulled down everything that in ancient times had been made of metal for the ornament of the city, to such an extent that he even stripped off the roof of the church [of the blessed Mary] which at one time was called the Pantheon, and had been founded in honor of all the gods and was now by the consent of the former rulers the place of all the martyrs; and he took away from there the bronze tiles and sent them with all the other ornaments to Constantinople.
Much fine external marble has been removed over the centuries, and there are capitals from some of the pilasters in the British Museum. Two columns were swallowed up in the medieval buildings that abbutted the Pantheon on the east and were lost. In the early seventeenth century, Urban VIII Barberini tore away the bronze ceiling of the portico, and replaced the medieval campanile with the famous twin towers built by Maderno, which were not removed until the late nineteenth century. The only other loss has been the external sculptures, which adorned the pediment above Agrippa's inscription. The marble interior and the great bronze doors have survived, although both have been extensively restored.
Since the Renaissance the Pantheon has been used as a tomb. Among those buried there are the painters Raphael and Annibale Carracci, the composer Arcangelo Corelli, and the architect Baldassare Peruzzi. In the 15th century, the Pantheon was adorned with paintings: the best-known is the Annunciation by Melozzo da Forlì. Architects, like Brunelleschi, who used the Pantheon as help when designing the Cathedral of Florence's dome, looked to the Pantheon as inspiration for their works.
Pope Urban VIII (1623 to 1644) ordered the bronze ceiling of the Pantheon's portico melted down. Most of the bronze was used to make bombards for the fortification of Castel Sant'Angelo, with the remaining amount used by the Apostolic Camera for various other works. It is also said that the bronze was used by Bernini in creating his famous baldachin above the high altar of St. Peter's Basilica, but according to at least one expert, the Pope's accounts state that about 90% of the bronze was used for the cannon, and that the bronze for the baldachin came from Venice. This led the Roman satirical figure Pasquino to issue the famous proverb: Quod non fecerunt barbari, fecerunt Barberini ("What the barbarians did not do, the Barberinis [Urban VIII's family name] did")
In 1747, the broad frieze below the dome with its false windows was “restored,” but bore little resemblance to the original. In the early decades of the twentieth century, a piece of the original, as could be reconstructed from Renaissance drawings and paintings, was recreated in one of the panels.
Also buried there are two kings of Italy: Vittorio Emanuele II and Umberto I, as well as Umberto's Queen, Margherita. Although Italy has been a republic since 1946, volunteer members of Italian monarchist organizations maintain a vigil over the royal tombs in the Pantheon. This has aroused protests from time to time from republicans, but the Catholic authorities allow the practice to continue, although the Italian Ministry of Cultural Heritage is in charge of the security and maintenance.
The Pantheon is still used as a church. Masses are celebrated there, particularly on important Catholic days of obligation, and weddings.
The building is circular with a portico of three ranks of huge granite Corinthian columns (eight in the first rank and two groups of four behind) under a pediment opening into the rotunda, under a coffered, concrete dome, with a central opening (oculus), the Great Eye, open to the sky. A rectangular structure links the portico with the rotunda. Though often still drawn as a free-standing building, there was a building at its rear into which it abutted; of this building there are only archaeological remains.
In the walls at the back of the portico were niches, probably for statues of Caesar, Augustus and Agrippa, or for the Capitoline Triad, or another set of gods. The large bronze doors to the cella, once plated with gold, still remain but the gold has long since vanished. The pediment was decorated with a sculpture — holes may still be seen where the clamps which held the sculpture in place were fixed.
The 4,535 metric ton (5,000 tn) weight of the concrete dome is concentrated on a ring of voussoirs 9.1 metres (30 ft) in diameter which form the oculus while the downward thrust of the dome is carried by eight barrel vaults in the 6.4 metre (21 ft) thick drum wall into eight piers. The thickness of the dome varies from 6.4 metres (21 ft) at the base of the dome to 1.2 metres (4 ft) around the oculus. The height to the oculus and the diameter of the interior circle are the same, 43.3 metres (142 ft), so the whole interior would fit exactly within a cube (alternatively, the interior could house a sphere 43.3 metres (142 ft) in diameter). The Pantheon holds the record for the largest unreinforced concrete dome. The interior of the roof was possibly intended to symbolize the arched vault of the heavens. The Great Eye at the dome's apex is the source of all light in the interior. The oculus also serves as a cooling and ventilation method. During storms, a drainage system below the floor handles the rain that falls through the oculus.
The interior features sunken panels (coffers), which, in antiquity, may have contained bronze stars, rosettes, or other ornaments. This coffering was not only decorative, but also reduced the weight of the roof, as did the elimination of the apex by means of the Great Eye. The top of the rotunda wall features a series of brick-relieving arches, visible on the outside and built into the mass of the brickwork. The Pantheon is full of such devices — for example, there are relieving arches over the recesses inside — but all these arches were hidden by marble facing on the interior and possibly by stone revetment or stucco on the exterior. Some changes have been made in the interior decoration.
It is known from Roman sources that their concrete is made up of a pasty hydrate of lime, with pozzolanic ash (Latin pulvis puteolanum) and lightweight pumice from a nearby volcano, and fist-sized pieces of rock. In this, it is very similar to modern concrete. No tensile test results are available on the concrete used in the Pantheon; however Cowan discussed tests on ancient concrete from Roman ruins in Libya which gave a compressive strength of 2.8 ksi (20 MPa). An empirical relationship gives a tensile strength of 213 psi (1.5 MPa) for this specimen. Finite element analysis of the structure by Mark and Hutchison found a maximum tensile stress of only 18.5 psi (0.13 MPa) at the point where the dome joins the raised outer wall. The stresses in the dome were found to be substantially reduced by the use of successively less dense concrete in higher layers of the dome. Mark and Hutchison estimated that if normal weight concrete had been used throughout the stresses in the arch would have been some 80% higher.
The 16 gray granite columns Hadrian ordered for the Pantheon's pronaos were quarried at Mons Claudianus in Egypt's eastern mountains. Each was 39 feet (11.8 m) tall, five feet (1.5 m) in diameter, and 60 tons in weight. These were dragged on wooden sledges when transporting on land. They were floated by barge down the Nile and transferred to vessels to cross the Mediterranean to the Roman port of Ostia where they were transferred back onto barges and up the Tiber to Rome.
As the best-preserved example of an Ancient Roman monumental building, the Pantheon has been enormously influential in Western Architecture from at least the Renaissance on; starting with Brunelleschi's 42-meter dome of Santa Maria del Fiore in Florence, completed in 1436 – the first sizeable dome to be constructed in Western Europe since Late Antiquity. The style of the Pantheon can be detected in many buildings of the nineteenth and twentieth centuries; numerous city halls, universities and public libraries echo its portico-and-dome structure. Examples of notable buildings influenced by the Pantheon include: the Panthéon in Paris, the Temple in Dartrey, the British Museum Reading Room, Manchester Central Library, Thomas Jefferson's Rotunda at the University of Virginia, the Rotunda of Mosta, in Malta, Low Memorial Library at Columbia University, New York, the domed Marble Hall of Sanssouci palace in Potsdam, Germany, the State Library of Victoria, and the Supreme Court Library of Victoria, both in Melbourne, Australia, the 52-meter-tall Ottokár Prohászka Memorial Church in Székesfehérvár, Hungary, Holy Trinity Church in Karlskrona by Nicodemus Tessin the Younger, Sweden, The National Gallery of Art West Building by John Russell Pope, located in Washington, D.C, as well as the California State Capitol in Sacramento.
The present high altar and the apse were commissioned by Pope Clement XI (1700-1721) and designed by Alessandro Specchi. In the apse, a copy of a Byzantine icon of the Madonna is enshrined. The original, now in the Chapel of the Canons in the Vatican, has been dated to the 13th century, although tradition claims that it is much older. The choir was added in 1840, and was designed by Luigi Poletti.
The first niche to the right of the entrance holds a Madonna of the Girdle and St Nicholas of Bari (1686) painted by an unknown artist. The first chapel on the right, the Chapel of the Annunciation, has a fresco of the Annunication attributed to Melozzo da Forli. On the left side is a canvas by Clement Maioli of St Lawrence and St Agnes (1645-1650). On the right wall is the Incredulity of St Thomas (1633) by Pietro Paolo Bonzi.
The second niche has a 15th century fresco of the Tuscan school, depicting the Coronation of the Virgin. In the second chapel is the tomb of King Victor Emmanuel II (died 1878). It was originally dedicated to the Holy Spirit. A competition was held to decide which architect should be given the honor of designing it. Giuseppe Sacconi participated, but lost — he would later design the tomb of Umberto I in the opposite chapel. Manfredio Manfredi won the competition, and started work in 1885. The tomb consists of a large bronze plaque surmounted by a Roman eagle and the arms of the house of Savoy. The golden lamp above the tomb burns in honor of Victor Emmanuel III, who died in exile in 1947.
The third niche has a sculpture by Il Lorenzone of St Anne and the Blessed Virgin. In the third chapel is a 15th-century painting of the Umbrian school, The Madonna of Mercy between St Francis and St John the Baptist. It is also known as the Madonna of the Railing, because it originally hung in the niche on the left-hand side of the portico, where it was protected by a railing. It was moved to the Chapel of the Annunciation, and then to its present position some time after 1837. The bronze epigram commemorated Pope Clement XI's restoration of the sanctuary. On the right wall is the canvas Emperor Phocas presenting the Pantheon to Pope Boniface IV (1750) by an unknown. There are three memorial plaques in the floor, one conmmemorating a Gismonda written in the vernacular. The final niche on the right side has a statue of St. Anastasio (1725) by Bernardino Cametti.
On the first niche to the left of the entrance is an Assumption (1638) by Andrea Camassei. The first chapel on the left, is the Chapel of St Joseph in the Holy Land, and is the chapel of the Confraternity of the Virtuosi at the Pantheon. This refers to the confraternity of artists and musicians that was formed here by a 16th-century Canon of the church, Desiderio da Segni, to ensure that worship was maintained in the chapel. The first members were, among others, Antonio da Sangallo the younger, Jacopo Meneghino, Giovanni Mangone, Zuccari, Domenico Beccafumi and Flaminio Vacca. The confraternity continued to draw members from the elite of Rome's artists and architects, and among later members we find Bernini, Cortona, Algardi and many others. The institution still exists, and is now called the Academia Ponteficia di Belle Arti (The Pontifical Academy of Fine Arts), based in the palace of the Cancelleria. The altar in the chapel is covered with false marble. On the altar is a statue of St Joseph and the Holy Child by Vincenzo de Rossi. To the sides are paintings (1661) by Francesco Cozza, one of the Virtuosi: Adoration of the Shepherds on left side and Adoration of the Magi on right. The stucco relief on the left, Dream of St Joseph is by Paolo Benaglia, and the one on the right, Rest during the flight from Egypt is by Carlo Monaldi. On the vault are several 17th-century canvases, from left to right: Cumean Sibyl by Ludovico Gimignani; Moses by Francesco Rosa; Eternal Father by Giovanni Peruzzini; David by Luigi Garzi and finally Eritrean Sibyl by Giovanni Andrea Carlone.
The second niche has a statue of St Agnes, by Vincenco Felici. The bust on the left is a portrait of Baldassare Peruzzi, derived from a plaster portrait by Giovanni Duprè. The tomb of King Umberto I and his wife Margherita di Savoia is in the next chapel. The chapel was originally dedicated to St Michael the Archangel, and then to St. Thomas the Apostle. The present design is by Giuseppe Sacconi, completed after his death by his pupil Guido Cirilli. The tomb consists of a slab of alabaster mounted in gilded bronze. The frieze has allegorical representations of Generosity, by Eugenio Maccagnani, and Munificence, by Arnaldo Zocchi. The royal tombs are maintained by the National Institute of Honour Guards to the Royal Tombs, founded in 1878. They also organize picket guards at the tombs. The altar with the royal arms is by Cirilli.
The third niche holds the mortal remains — his Ossa et cineres, "Bones and ashes", as the inscription on the sarcophagus says — of the great artist Raphael. His fiancée, Maria Bibbiena is buried to the right of his sarcophagus; she died before they could marry. The sarcophagus was given by Pope Gregory XVI, and its insription reads ILLE HIC EST RAPHAEL TIMUIT QUO SOSPITE VINCI / RERUM MAGNA PARENS ET MORIENTE MORI, meaning "Here lies Raphael, by whom the mother of all things (Nature) feared to be overcome while he was living, and while he was dying, herself to die". The epigraph was written by Pietro Bembo. The present arrangement is from 1811, designed by Antonio Munoz. The bust of Raphael (1833) is by Giuseppe Fabris. The two plaques commemorate Maria Bibbiena and Annibale Carracci. Behind the tomb is the statue known as the Madonna del Sasso (Madonna of the Rock) so named because she rests one foot on a boulder. It was commissioned by Raphael and made by Lorenzetto in 1524.
In the Chapel of the Crucifixion, the Roman brick wall is visible in the niches. The wooden crucifix on the altar is from the 15th century. On the left wall is a Descent of the Holy Ghost (1790) by Pietro Labruzi. On the right side is the low relief Cardinal Consalvi presents to Pope Pius VII the five provinces restored to the Holy See (1824) made by the Danish sculptor Bertel Thorvaldsen. The bust is a portrait of Cardinal Agostino Rivarola. The final niche on this side has a statue of St. Rasius (S. Erasio) (1727) by Francesco Moderati.
Digital Accession Number: 1995:2752:0001.0001
Maker: Unidentified
Title: Portrait of girl seated at window with book
Date: ca. 1860
Medium: ambrotype with applied color
Dimensions: 6.6 x 5.3 cm.; 1/6 plate
George Eastman House Collection
About the Collection · Blog · Reproductions & Image Licensing
Aeres University of Applied Sciences (Food, Nature & Urban Green) Almere
At the start of the 21/22 academic year, the new building of the green education and knowledge institution Aeres Hogeschool Almere was taken into use on one of the main roads to Floriade Expo 2022. A healthy, inspiring working and learning environment in an energy-neutral, climate-adaptive and circular building. The design reflects both the sustainable identity of the education of the faculty in Almere and the central theme of the upcoming world horticultural exhibition: 'Growing Green Cities'. 'Green' is therefore an important building block for the new building with different types of green walls, plants and trees, moves through the building like a landscape, from entrance to roof. The greenery stimulates the senses and, as part of the living lab, also has an educational value; students in Almere conduct research into urban food supplies and healthy living in the green city and into the way in which greenery in the school contributes to learning performance.
Aeres is the first school in the Netherlands to go for the Platinum WELL certificate. The abundant living greenery itself has many positive effects on the indoor climate. In addition, other relevant factors such as daylight, ventilation, thermal comfort, acoustics, movement and the use of non-toxic materials have also been optimized. Users can control their own lighting, climate and sun protection for each room. Building performance is continuously monitored and controlled by an intelligent building management system. The inspiring interior is also a translation of the educational vision and sustainability ambitions. The functional and varied mix of learning, working and consultation spaces facilitates activity-oriented education, research and project-based and individual work.
The new Aeres University of Applied Sciences is a smart energetic building with smart skin; Depending on the position and orientation, the facades have different properties. For example, PV panels on the west side also provide solar shading in addition to generating energy. The east side, oriented towards the tree garden of the Floriade site, is completely green and changes color with the seasons. The lively nature-inclusive green roof is both a pleasant living space and an inspiring learning and experimental area. A shaded roof of semi-transparent PV panels protects the students from the sun and reduces the heat in the school. Collected rainwater also serves as a heat/cooling buffer and provides watering for the greenery on and around the building. This saves 50% tap water. In keeping with the sustainable ambitions for the new university of applied sciences, we have incorporated various circular materials into the building, such as biocomposite facade cladding, concrete granulate, recycled wood for the grandstand stairs, decking and outdoor furniture and recycled metal studs for the inner walls. In turn, the demountable design itself enables future reuse of materials registered with Madaster.
client: Aeres Group; design: BDG Architects; advisors: HEVO (project management); DGMR (building physics/acoustics and fire); JVZ Engineers (constructions); Innax (installations); The Royal Ginkel Group (green) realization: 2021
Sagrada Família, Barcelona, España.
El Templo Expiatorio de la Sagrada Familia, conocido simplemente como la Sagrada Familia, es una basílica católica de Barcelona (España), diseñada por el arquitecto Antoni Gaudí. Iniciada en 1882, todavía está en construcción (noviembre de 2016). Es la obra maestra de Gaudí, y el máximo exponente de la arquitectura modernista catalana.
La Sagrada Familia es un reflejo de la plenitud artística de Gaudí: trabajó en ella durante la mayor parte de su carrera profesional, pero especialmente en los últimos años de su carrera, donde llegó a la culminación de su estilo naturalista, haciendo una síntesis de todas las soluciones y estilos probados hasta aquel entonces. Gaudí logró una perfecta armonía en la interrelación entre los elementos estructurales y los ornamentales, entre plástica y estética, entre función y forma, entre contenido y continente, logrando la integración de todas las artes en un todo estructurado y lógico.
La Sagrada Familia tiene planta de cruz latina, de cinco naves centrales y transepto de tres naves, y ábside con siete capillas. Ostenta tres fachadas dedicadas al Nacimiento, Pasión y Gloria de Jesús y, cuando esté concluida, tendrá 18 torres: cuatro en cada portal haciendo un total de doce por los apóstoles, cuatro sobre el crucero invocando a los evangelistas, una sobre el ábside dedicada a la Virgen y la torre-cimborio central en honor a Jesús, que alcanzará los 172,5 metros de altura. El templo dispondrá de dos sacristías junto al ábside, y de tres grandes capillas: la de la Asunción en el ábside y las del Bautismo y la Penitencia junto a la fachada principal; asimismo, estará rodeado de un claustro pensado para las procesiones y para aislar el templo del exterior. Gaudí aplicó a la Sagrada Familia un alto contenido simbólico, tanto en arquitectura como en escultura, dedicando a cada parte del templo un significado religioso.
The Expiatory Church of the Sagrada Familia, known simply as the Sagrada Familia, is a Roman Catholic basilica in Barcelona, Spain, designed by architect Antoni Gaudí. Begun in 1882, it is still under construction (November 2016). It is Gaudí's masterpiece and the greatest exponent of Catalan modernist architecture.
The Sagrada Familia is a reflection of Gaudí's artistic plenitude: he worked on it for most of his professional career, but especially in his later years, where he reached the culmination of his naturalistic style, synthesizing all the solutions and styles he had tried up to that point. Gaudí achieved perfect harmony in the interrelationship between structural and ornamental elements, between plasticity and aesthetics, between function and form, between content and container, achieving the integration of all the arts into a structured and logical whole. The Sagrada Familia has a Latin cross plan, five central naves, a three-aisled transept, and an apse with seven chapels. It boasts three façades dedicated to the Birth, Passion, and Glory of Jesus. When completed, it will have 18 towers: four at each portal, making a total of twelve for the apostles, four over the transept invoking the evangelists, one over the apse dedicated to the Virgin, and the central dome tower in honor of Jesus, which will reach 172.5 meters in height. The temple will have two sacristies next to the apse and three large chapels: the Assumption Chapel in the apse and the Baptism and Penance Chapels next to the main façade. It will also be surrounded by a cloister designed for processions and to isolate the temple from the exterior. Gaudí applied a highly symbolic content to the Sagrada Familia, both in architecture and sculpture, dedicating each part of the temple to a religious significance.
Architecte : Richard Meier
The Museum of Applied Arts or just MAK, a short version of its German name Museum für angewandte Kunst is located in Frankfurt, Germany and exhibits more than 30,000 objects representing European and Asian decorative arts. The new building of the museum was designed by the American architect Richard Meier in the garden of Villa Metzler. The collection of furniture, glassware, and porcelain has expanded and includes now also product design and information design.
This was made using a Schuco base model which came in the correct colour of silver. I had to cover the panoramic sunroof and paint the interior black.
I have applied water slide decals from Cheshire999models, sadly no longer available. The lightbar and ANPR sensor are from 2D Models. I painted the mounting feet of the lightbar in matt black.
I ensured I applied the correct style of battenburg as per what the Met use with a wider top deck of boxes (and smaller bottom deck). Call signs and numberplates are from Met vehicles but not authentic to this representation of a traffic car.
The base model is hard to locate and took a year of searching the internet to trace one. It’s a model I’ve had planned for a long time.
Some years ago, we were staying with friends in Rapperswil-Jona on Lake Zurich when Swiss National Day rolled around. After a farm visit, we went for a walk in the countryside. We might be only 40km from Zurich, but the walkways around Lake Zurich have a very bucolic feel.
Our lake-side walk takes us past the University of Applied Sciences Rapperswil Campus (Fachhochschule Ostschweiz Campus RJ), where some beautiful, large sculptures rise out of the gardens of grass and sunflowers.
For the story, please visit: www.ursulasweeklywanders.com/travel/swiss-apples-and-nati...
Folkloric
· In the Philippines, macerated fresh leaves applied externally to burns.
· Leaves are bruised and applied to centipede and scorpion bites. Also, applied to temples and forehead for headache, help in place by a bandage.
· Leaves in infusion or as syrup used as aromatic and carminative; used for dyspepsia and also as a cure for asthma.
· The Malays used the plant juice or decoction for pains around the areas of the heart or abdomen.
· Decoction of leaves given after childbirth.
· In Indo-China, given for asthma and bronchitis.
· The juice of the leaves for dyspepsia, asthma, chronic coughs, bronchitis, colic, flatulence, rheumatism. The dose is one tablespoonful of the fresh juice every hour for adults and one teaspoonful every two hours, four times daily, for children. As an infusion, 50 to 60 grams to a pint of boiling water, and drink the tea, 4 to 5 glasses a day. For children, 1/2 cup 4 times daily.
· For otalgia (ear aches), pour the fresh, pure juice into the ear for 10 minutes.
· For carbuncles, boils, sprains, felons, painful swellings: Apply the poultice of leaves to the affected area, four times daily.
· For sore throats, a decoction of two tablespoonfuls of dried leaves to a pint of boiling water, taken one hour before or after meals.
· In India, leaves are used traditionally for bronchitis, asthma, diarrhea, epilepsy, nephro-cystolithiasis, fever, indigestion and cough. Also used for malarial fever, hepatopathy, renal and vesicle calculi, hiccup, helminthiasis, colic, and convulsions.
· The Chinese used the juice of leaves with sugar, for cough in children, asthma and bronchitis, epilepsy and convulsive disorders.
· Leaves are applied to cracks at the corners of the mouth, for thrush, headaches; against fever as a massage or as a wash.
· Used for bladder and urinary afflictions, and vaginal discharges.
· Used as carminative, given to children for colic.
· In Bengal, used for coli and dyspepsia.
· Expressed juice applied around the orbit to relieve conjunctival pain.
source: wikipedia
(Monticola brevipes)
Namíbia
Taken very early in the morning with high ISO (6400) and I didn't use any noise reduction as I didn't find yet a way, in GIMP, to reduce the noise without loosing details beyond an acceptable limit (IMO). However I applied a substantial amount of gaussian blur on background.
Species 630 on BBM
==================***==================
All my photos are now organized into sets by the country where they were taken, by taxonomic order, by family, by species (often with just one photo for the rarer ones), and by the date they were taken.
So, you may find:
- All the photos for this trip Namíbia (2015) (260)
- All the photos for this order PASSERIFORMES (3553)
- All the photos for this family Muscicapidae (Muscicapídeos) (454)
- All the photos for this species Monticola brevipes (2)
- All the photos taken this day 2015/12/20 (24)
==================***==================
Digital Accession Number: 2008:0502:0007.0001
Maker: Unidentified Photographer
Title: Man with glasses
Date: ca. 1920
Medium: gelatin silver print (POP) with applied color and chromolithograph, mounted on celluloid plaque with easel back
Dimensions: Image: 14.9 x 9.8 cm Overall: 20.2 x 15.2 cm
George Eastman House Collection
General – information about the George Eastman House Photography Collection is available at http://www.eastmanhouse.org/inc/collections/photography.php.
For information on obtaining reproductions go to: www.eastmanhouse.org/flickr/index.php?pid=200805020007.
S. Aloe
Graphite
CORSO DI DISEGNO E PITTURA
miminadecorazioni.blogspot.com/
1991 Nissan Figaro.
Registered in September 2007.
Last taxed in March 2014.
Anglia Car Auctions, King's Lynn -
"V5 To be applied for
MoT Mar 2023
Chassis number: FK100013015
"Although the retro‑styled Nissan Figaro was never officially sold in the UK, quite a few of the 20,073 built have subsequently found their way over here, offering the benefits of classic looks combined with modern, no nonsense Japanese mechanicals, as well as a turbocharger and full‑length soft‑top. Four colours were available, to represent the four seasons; Topaz Mist, Emerald Green, Pale Aqua and Lapis Grey.
"This one is in Lapis Grey and was manufactured ‑ as with all other Figaros ‑ in 1991. It was registered in the UK in September 2007 and has had one registered former keeper since then. The odometer shows 71,108km (44,180 miles) and the car is MoT'd until March 2023. Aside from the current MoT certificate, there is no other paperwork accompanying the car, although a V5C has been applied for."
Sold for £6912 (including premium) on an estimate of £4000 to £6000.
Setra S415 GT seen here after getting a new livery applied. These were new to turners of Bristol before passing to Henleys
Almost every single component of the Flavel mansion seen here came from a carpenter's shop.
It would be a colossal job to build a precise replica of this building today even with our power tools.
In 1885 carpenters did have access to a variety of treadle tools, particularly saws and scroll saws. One wonders how much effort it would have taken to cut the many scrollwork designs seen here. The operators of treadle saws must have developed powerful muscles in one leg and, quite possibly, repetitive motion injuries.
However, a power tool was of little use unless the carpenter knew how to apply it to achieve the desired result. The crisp, repeating, and symmetrical designs have little or no margin for error.
I wish I knew how many carpenters were employed in creating the fancy wooden trim for the Flavel mansion, and how the carpentry shop was organized and managed. I hope for their sake that the carpenters had a fair amount of variety in their work. Imagine being the person responsible for every turned ornamental ball finial on the entire mansion!
Now that I think of it, I wonder where the carpentry shop was located. There was ample room for one on the ample lot. If that is where it was, I wonder whether any archaeological remains still exist that would be worth investigating.
========================================================
Flavel House History
The Flavel House Museum was the home of Captain George Flavel (1823-1893), one of Astoria’s most influential citizens in the late 1800s. Captain Flavel was a noted bar pilot on the Columbia River and a prominent businessman.
His Queen Anne style house was designed by German-born architect Carl W. Leick and was completed in the spring of 1886 as his retirement home.
The Captain lived here for seven years with his wife Mary Christina Boelling (1839-1928) and his two grown daughters, Nellie and Katie. The couple’s son, George Conrad Flavel, never lived in his parent’s new residence as he was already married and living in a house of his own.
The house remained in the family until 1934 when George and Mary’s great-granddaughter, Patricia Jean Flavel, gave the property to the city as a memorial to her family.
In 1936 there was talk of tearing the house down and establishing an outdoor community park on the property. However, the city had financial difficulties and decided to return the property to Patricia Flavel. That same year the residence and grounds were deeded to Clatsop County with the understanding that both would be kept in good repair and used for public purposes.
From 1937 through World War II, the Public Health Department, the Red Cross, and the local Welfare Commission all had offices in the house.
In 1951, there was once again the talk of tearing the house down, this time to make way for a parking lot for the County Courthouse.
Concerned citizens organized to save the home, and the Flavel House was made into a local history museum managed by the Clatsop County Historical Society while still under the ownership of the County.
Eventually, the County transferred full ownership of the property to the Historical Society.
About the Interior
The Flavel House is approximately 11,600 square feet and consists of two and a half stories, a single story rear kitchen, a four-story tower, and a full basement.
The interior woodwork around the doors, windows, and stair-cases are Eastlake-influenced in design. The Douglas Fir doors, moldings, and wainscoting were faux wood-grained by a master craftsman to look like exotic hardwoods such as mahogany and burl rosewood. The wood likely came from a mill in Portland or San Francisco and was shipped to Astoria by steamer.
Six fireplaces grace the home and feature different imported tiles from around the world, elaborate hand-carved mantels, and a patterned metal firebox designed to burn coal.
The fourteen-foot high ceilings on the first floor and the twelve-foot high ceilings on the second floor are embellished with plaster medallions and plaster crown moldings.
The house was very modern with wall-to-wall carpet-ing, gaslighting, indoor plumbing, and a central heating system.
The First Floor is comprised of the public rooms such as the grand entrance hall, the formal parlor, the music room (the scene of musical recitals by the Flavel daughters), the library (the heart of the house), the dining room, and the conservatory. The butler’s pantry, the kitchen, and the mudroom make up the housekeeping area.
The Second Floor features the main bathroom, five bedchambers, and a small room used as a sewing room or storage room.
The Attic Floor is a large, unfinished area with two small plain bedrooms used by the Flavel’s domestic help.
The tower gave the Captain a broad view of Astoria and the Columbia River to keep an eye on the local ship traffic.
The Basement of the house originally had a dirt floor and contained a large wood-burning furnace.
About the Exterior
The Flavel House rests on park-like grounds covering an entire city block. It has been listed on the National Register of Historic Places since 1951.
The Queen Anne architectural style, popular from 1880 to 1910, can be seen in the house’s steeply pitched roof, patterned shingles, and cut-away bay windows.
Other characteristics of the Queen Anne style are the octagonal-shaped tower, the one-story wrap-around porch, and its asymmetrical facade.
Decorative elements of the Stick and Italianate styles are also apparent in the vertical stickwork, the bracketed eaves, and the hooded moldings above the windows and doors.
Outlining the roof and verandas of the house is the original wrought-iron cresting.
About the Carriage House
The Carriage House was built on the south-west corner of the property in 1887. It served as the place where the family kept their carriage, sleigh, and small buggies.
It also had three temporary holding stalls for their horses, a tack room, and a hayloft upstairs.
In the mid-1890s, the Carriage House was home to the family’s hired caretaker, Alex Murray.
In time, automobiles, including the Flavel’s Studebaker sedan, found a home in the Carriage House, and the family’s driver kept a room upstairs.
Today the Carriage House functions as the Visitor Center, museum store, and exhibit hall for the Flavel House Museum and the administrative offices of the Clatsop County Historical Society.
Found in the private dining room at Caffit, Jerusalem. The original of this was a straight up b/w shot, with some modified sketch art and texture applied.
Nikon D5100, AF-S Nikkor 50/1.8g. It's a bright, cool Wednesday here; have a great day.
Applied monotone effect to describe a good old day in Edo period. Precisely speaking, applied Vintage T-shirt '72 preset plus Nostalgialicious preset from free SM Classic Series presets.
I applied most of the decals. I know most of it is incorrect, but I was experimenting with what looked cool :P
IC 2177 is a region of nebulosity that lies along the border between the constellations Monoceros and Canis Major. It is a roughly circular HII region centered on the Be star HD 53367. This nebula was discovered by Welsh amateur astronomer Isaac Roberts and was described by him as, "pretty bright, extremely large, irregularly round, very diffuse."
The name Seagull Nebula is sometimes applied by amateur astronomers, although it more properly includes the neighboring regions of star clusters, dust clouds and reflection nebulae. This latter region includes the open clusters NGC 2335 and NGC 2343 and the reflection nebula NGC 2327.
Taken from 2/13/2015 to 3/8/2015 in Chino Valley, AZ
Takahashi FSQ-106ED refractor
SBIG STF-8300M camera using an AstroDon Ha & Baader LRGB filters.
Losmandy G11 mount
Exposure Details:
This is a four panel mosaic. The exposures are duplicated for each panel.
Lum 56 min. (8 x 7 min.)
Ha 180 min. (12 x 15 min.)
Red 28 min. (4 x 7 min.)
Green 56 min. (8 x 7 min.)
Blue 56 min. (8 x 7 min.)
For more info see...
Brian May, lead guitarist of the rock band Queen and astrophysicist discusses the upcoming New Horizons flyby of the Kuiper Belt object Ultima Thule, Monday, Dec. 31, 2018 at Johns Hopkins University Applied Physics Laboratory (APL) in Laurel, Maryland. Photo Credit: (NASA/Bill Ingalls)
Digital Accession Number: 1995:2669:0001.0001
Maker: Unidentified
Title: Woman combing hair of seated man
Date: ca. 1860
Medium: ambrotype with applied color
Dimensions: 6.5 x 5.3 cm.; 1/6 plate
George Eastman House Collection
About the Collection · Blog · Reproductions & Image Licensing